By Robert Clark
This dramatic, superbly written account of the flood that ravaged Florence, Italy, in 1966 weaves heartbreaking stories of the catastrophe and tales of the heroic international efforts to save lots of the city’s treasures opposed to the ancient historical past of Florence’s wonderful art.
On November four, 1966, Florence, one of many world’s so much old towns and the repository of possibly its maximum paintings, was once struck by way of a enormous calamity. A low-pressure process have been stalled over Italy for 6 weeks and at the prior day it had began to rain back. Nineteen inches fell in twenty-four hours, greater than half the yearly overall. via o’clock within the morning twenty-thousand cubic toes of water in line with moment used to be relocating towards Florence. quickly manhole covers in Santa Croce have been exploding into the air as jets of water all started capturing out of the now beaten sewer approach. Cellars, vaults, and strong-rooms have been filling with water. evening watchmen at the Ponte Vecchio alerted the bridge’s jewelers and goldsmiths to come back fast to rescue their wares. via then the water was once relocating at 40 miles in keeping with hour at a peak of twenty-four ft. At 7:26 a.m. all of Florence’s electrical civic clocks got here to a cease. The Piazza Santa Croce was once lower than twenty-two toes of water. underneath the outside, twelve ft of dust, sewage, particles, and oil sludge have been beginning to ooze and settle into the cellars and crypts and room after room above them. Six-hundred-thousand hundreds it'll smother, clot, and encrust the city.
Dark Water brings the flood and its aftermath to existence throughout the voices of witnesses previous and current. younger American artists wade heedlessly during the inundated urban wearing their child so as to witness its devastated attractiveness: the Ponte Vecchio buried in particles and Ghiberti’s panels from the doorways of the Florence Baptistery, mendacity heaped in yard-deep dust; the swamped Uffizi Gallery; and, within the urban libraries, a billion pages of Renaissance and vintage books, soaked in mire. A Life magazine photographer, stowing away on a military helicopter, arrives to catch a drama that, he felt, “could purely be informed by means of Dante” amid the flooded tombs of Machiavelli and Michelangelo in Giotto and Vasari’s Santa Croce. A British scholar, one among millions of “mud angels” who rushed to Florence to keep its artwork, spends a month scraping dust and mildew from Cimabue’s extraordinary and neglected Crocifisso as intrigues and infighting between overseas paintings specialists and connoisseurs swirl round him. and through the 40th anniversary commemorations of 2006 the writer asks himself why paintings issues so a great deal to us, and the way attractiveness turns out to someway keep the area even within the face of overwhelming disaster.
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Extra info for Dark Water: Flood and Redemption in the City of Masterpieces
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6 HOW IS THIS BOOK DIFFERENT? With the growth of diverse applications, it became a necessity to provide a fresh look at the contents of an introductory image processing book. In our knowledge there is no other book that covers the following aspects in detail. We present a set of advanced topics, in this book, retaining the classical ones. We cover several applications such as biomedical and biometric image processing, Content based image retrieval, remote sensing, dynamic scene analysis, pattern recognition, shape and texture analysis, etc.
Fig. 6 Images sampled at 256 x 256, 128 x 128 , 64 x 64, 32 x 32, and 16 x 16 rectangular sampling grids. SAMPLlNG AND QUANTlZATlON 25 If the original image is bandlimited in Fourier domain, and if the sampling is performed at the Nyquist rate, then it is possible to reconstruct the original image using appropriate sample interpolation. , for deterministic and random image fields). The theory of sampling in a lattice of two or more dimensions has been well documented in . The aliasing errors caused by undersampling of the image has been discussed in [ 6 ] .